After hearing Marina Piccinini’s concert in October, I was inspired to try out some new instruments. I heard her doing some things with her sound that I thought were not possible on my current setup. Every time I’ve needed an instrument upgrade thus far in my journey, it’s been at the suggestion of a teacher or loved one- not my own idea. But, I think I’m at the point where no one is going to point it out to me any more, and I need to take responsibility for it!

It’s always a little intimidating to embark on the very expensive and tedious process of instrument shopping, which is why I tend to ignore it. Generally, I’d rather spend my time and energy practicing. BUT… it would be naive to assume that my instrument has nothing to do with my development, and that practicing will solve everything. As I’m currently finding, some things are just a lot easier on different equipment.

I went to Carolyn Nussbaum’s shop to try out some headjoints and a few flutes. I currently play on a Yamaha 700 series with a David C. Williams headjoint, which I upgraded a couple of years ago. That definitely expanded my sound and articulation palette, but I feel like I’ve outgrown it. I’m specifically looking for a more immediate response overall, fuller sound in the low register, and brilliance in the high register.

I decided to stick with searching for a headjoint this time around. I tried a few really nice flutes, but realized that for what I would want, it’s out of my budget right now. Instead, I’ll keep my current body and get a super nice headjoint. The next time I’m looking for an upgrade, I’ll probably get a new instrument and keep my current setup as a backup.

I took two headjoints for a trial:
-Mancke, silver tube, 14k gold lip plate, platinum riser
-McKenna, silver tube, gold lip plate, Adler wings

As a control, I also played my own Williams headjoint (silver tube, gold riser)

Playing test

I designed a short playing test to compare the headjoints.

-low register scale (for sound)
-color change
-low register articulations (for response)
-C Major Reichert arpeggios (for legato)
-Articulation range (soft to hard)
-Dynamic extremes on Cs
-Tosca theme (for overall)

Mancke (silver tube, 14k gold lip plate, platinum riser)

This is my favorite headjoint I’ve tried so far. I played about 15 at the shop, and now I’ve additionally tried a handful from Flute Center New York and Flutistry.

The funny thing is that a couple of years ago, I went to Carolyn’s a couple years ago and tried a bunch of Mancke headjoints, but didn’t like any of them. I also remember my very favorite was McKenna, which I didn’t like nearly as much this time around.

I think that shows that the equipment should evolve with the player, and there isn’t necessarily a “forever” instrument out there. I also definitely think that different things will work for different players, depending on their approach to playing, anatomy, etc.

I found this Mancke headjoint immediately expanded my sound possibilities, and it was actually easier to control. Some headjoints I’ve tried I feel like have potential if I were to work with it a lot, but I want to make things easier for myself, not more difficult! I actually liked this one so much I played it for a small recital the day after I got it from the shop.

McKenna (silver tube, gold lip plate and riser, Adler wings)

I liked the overall sound of this headjoint better than my Williams headjoint, but didn’t find the response as quick and clear, or the low register as rich.

Williams (silver tube and lip plate, gold riser)

For comparison, here is my current headjoint. The low register in particular doesn’t have the depth or clarity I am looking for. The response isn’t as refined as I’d like it to be, limiting my range of articulations.